Most bands go through a period of refinement, where the loose-jamming phase gives way to taut compaction. But what if a band's loose jamming is also tight and dynamic — does that mean that said band can stay in the shed forever?

They can if they're Endless Boogie, a Brooklyn riff unit who make inchoate screaming and non-stop soloing come across as refreshing and appealing. On paper, the record seems like a chore: eight tracks ranging from five to 23 minutes, full of never-ending Blueshammer workouts.

But don't be fooled — not only do these guys know how to play, they know how to leave room for one another. Meaning that you have drone-ons and sharp-focus lead work blazing at all times without anyone's getting elbowed out of the spotlight. Guitarists Jesper Eklow and Paul Major make indulgent and seemingly formless dad rock that understands when to apply the pressure and when to sit back and cook, whether in the nearly 10-minute slow burn of "Top Dollar Speaks His Mind" or the, uh, nearly 10-minute slow burn of album opener "Empty Eye." If these dudes can keep cranking out this kind of high-grade schlock, here's hoping they never make it out of the garage.

THE STROKES | COMEDOWN MACHINE | March 18, 2013 The Strokes burst out in a post-9/11 musical world with a sound that was compact and airtight, melodies coiled frictionlessly in beats and fuzzed vocals.

GLISS | LANGSOM DANS | February 01, 2013 If rock and roll is three chords and the truth, then the mutant genre offspring shoegaze can be summed up as one chord, three fuzzboxes, and a sullen, muttered bleat.